Wednesday, 28 September 2016

Just a quick note to say I was lucky enough to get to recently interview Jeremy Saulnier, the director of Green Room and Blue Ruin and also actor Callum Turner who plays Tiger, the lead singer of punk band the Ain't Rights in Green Room.

Here's a snippet of my review of the film:

"Punk band Ain't Rights are going nowhere fast, playing crappy gigs
and siphoning petrol just to keep their clapped-out tour van running. After an
interview with a local journalist and a disappointing take from their latest
gig, they hear of a backwoods gig where they can make some quick and easy cash.
The only rub is the clientele at the venue are far right (or are they extreme
left?) nutters and Ain't Right don't help matters by opening with a cover of
The Dead Kennedy’s Nazi Punks.

However, the poop really hits the fan when they witness a murder
backstage in the green room and find themselves trapped in the venue by those
who don't want them to get out alive. Led by Patrick Stewart's gang leader and
venue owner, an army of skinhead 'red laces' are soon lining up to pick off the
band members of Ain't Rights one by one."

The interviews with both Callum Turner and Jeremy Saulnier are both up at Starburst Magazine now and Green Room recently came out on Blu-ray and DVD so if you didn't catch it at the cinema (and not enough people did), then you should most certainly think about getting yourself a copy now. Or I'll send round Patrick Stewart to knock some sense into you.

Friday, 16 September 2016

Blue Ruin came out in 2013 was easily one of my favourite films of the year. This review was originally posted at Filmoria.

Jeremy
Saulnier is a name you better get used to. Writer, director and photographer of
the brilliant indie revenge thriller Blue Ruin, he will need to watch his back
if he carries on like this. Everyone will be after him and his considerable
talent and there are bound to be a few directors jealous enough of his skills
to try and take him out themselves. For that matter, the magnificently bearded
lead Macon Blair is also a serious talent to watch.

Blue Ruin
is the story of Dwight (Macon Blair), a homeless drifter who takes baths in
empty houses, sleeps in his car and gets food from anywhere he can. Dwight is
the silent type; his mouth seemingly lost beneath his impressively overgrown
beard. When he finds out that Wade Cleland, the man responsible for the murder
of his parents has been released from prison, Dwight immediately swings into
action, carrying out his burning desire for revenge. However, killing Wade may
only be the beginning of Dwight's one man rampage of revenge.

Because unfortunately for him, Dwight is no
Rambo. He hasn't got the skills, the savagery or the insanity to just
pick off bad guys left, right and centre. He is clumsy and clearly crap at all
this killing stuff. Though he is committed to his cause and clever enough to
carry it out with the possibility of getting away with it, he is also just an
ordinary guy. His early mishaps with a knife show his worrying lack of prowess
in the weapon-wielding department and it makes him believable, sympathetic and
impossible not to root for.

Blue Ruin starts
off like a deceptively typical indie movie; all intriguing close ups with
shallow depth of field and bereft of dialogue for most of the first half hour.
The composition of early shots are gorgeous with the camera later prowling
around the dark locations building an unbearable silent tension. The subtle
score exacerbates this, brooding in the background and anticipating the
violence. Suddenly and viciously, Blue Ruin becomes a black comedy and edge-of-your-seat thriller.

And when it
comes, the first murder is brutal, bloody and swift. The first act of the film
ends where most revenge thrillers would finish but Blue Ruin has plenty more in
store. The exact details of the murder that has spurred this mission are
deliciously drip fed through sparse bursts of dialogue, punctuating the scenes
of silent Dwight stalking. After he seems to have succeeded in his goal, it
suddenly and frantically becomes clear that what started out simple has just
become far more complex as Dwight has ignited a terrifyingly dangerous family
feud.

From
revenge thriller to home invasion movie and back again, Blue Ruin is never less
than absolutely thrilling. As Dwight rolls around in his old battered car, he
beautifully blurs the lines between victim and predator. Though he is a man of
very few words, he is impossible to take your eyes off. Macon Blair is
revelatory in the role, transforming his features so he is almost two different
characters during the story. His amateur assassin becomes reluctant protector
to his estranged family and his bravery, resourcefulness anddetermination are hilariously balanced by his
total authenticity, lack of faith in himself and deep sadness he lugs around
with him. It is a wonderful performance; at times bringing real warmth and
empathy to the character while being darkly funny as he is forced to tend his
wounds and deal in death. There clearly can't be a happy ending for poor Dwight
who never smiles and takes no pleasure in his actions. He is a man driven to do
what he simply has to do and he has no illusions that he deserves to get out
alive. However you are guaranteed to wince with him when he is hurt and cheer
him on when he takes revenge.

Helped
along the way by an old friend who warns him not to make speeches before
killing people, Blue Ruin is gripping from start to finish even when it pauses
for pitch black humour. The villains may not have much shading, but their love
of guns is enough to make them (for the most part) a mysterious and chilling
foe. Bleakly funny, tense beyond words, breathtaking and heartbreaking, Blue
Ruin is everything you could possibly want in a thriller. Dwight is undoubtedly
one of the best characters of the year and his story will keep you riveted. As
Dwight travels to another showdown, he hears a song about having no regrets on
the radio. Like Dwight after his spree, you certainly won't have any regrets
after seeing the brilliant Blue Ruin.

Monday, 12 September 2016

You've got to wonder where the parents of Heather and James
Donahue are, and what exactly they think they're doing. We didn't see them
before their daughter got lost in The Blair Witch Project and now they've only
gone and let their son James wander off in search of his sister 20 years later.
Surely one of the parents might have advised against this madness.

And so Blair Witch begins with director Adam Wingard (The
Guest, You’re Next) taking us back into the haunted woods of Burkitsville as another
group of camera-carrying crazies go in search of the elusive Elly Kedward. This
time there’s six doomed younglings; James Donahue was four when Heather
disappeared, Lisa wants to make a documentary on James’ ill-advised search for
his missing sister, and their friends Peter and Ashley are just along for moral
support (and to handily up the body count and prove that in horror, black guys
are still first on the kill list). The four friends are then joined by oddballs
Lane (darknet666) and Talia who uploaded footage to YouTube that they claim
to have found on a tape in the woods. The shaky camera video appears to show a
female figure in a house just like the one at the end of Heather’s original
project. Is Heather still alive after all these years, or is the Blair Witch up
to her old tricks again?

No points if you guess the answer, but prepare for another
bumpy ride on you’re way to the climax. Blair Witch ditches much of the
ambiguity of the original film. There’s no room for any real debate over what exactly
happens to this bunch of terrified youths. Anyone still fuming that they sat
through The Blair Witch Project and never got a single shot of the Blair Witch
can rest assured that there is definitely something to see here. Thankfully,
not too much though. Wingard is smart enough to know a little goes a long way
and milks the most suspense possible from his characters’ shaky cameras and
inability to confront the Blair Witch face to face. The sound design is also
racked up a notch, sometimes a little too much as it sounds like the black
smoke monster from Lost might have found its way into the woods of Maryland.

Though the Donahue kids’ parents could have done much more
to stop at least their second child from heading into the woods, at least James
and his buddies are much more prepared for their camping trip than Heather,
Mike and Josh were back in 1994. This new crop of tech-savvy millenials have Walkie-talkies, GPS, wearable cameras, a drone camera, lots of lights, food and just more
cameras than you can shake a spooky stick-man at. Unfortunately, they obviously
didn't watch that footage filmed by Heather and Josh carefully enough as they
don't seem to realise that it's all bloody useless when faced with the power of
the Blair Witch.

And if you thought she was too passive in the original, or maybe you don't believe that there was a curse
and that everything can be explained rationally in the footage from Heather’s project,
prepare to think again. In Blair Witch, the late Elly Kedward really unleashes
her powers. She messes with their technology, messes with time and space,
magics that old house from out of nowhere again and even throws in a few new
tricks that are best left unspoiled. Wingard leaves you in no doubt that the
Blair Witch exists and she's pretty much as terrifying as she ever was.

Fans of the original have to endure a little catch-up
exposition to fill newcomers in on the legend of the Blair Witch, but at least
a little more is added to the mythology. Rustin Parr’s house is also
expanded with previously unseen elements providing one particularly claustrophobic
moment. However, it's what goes down in the house that really gives the sweat
glands a workout as familiar beats (people standing in corners, apologies,
unseen attackers) get new and thrilling updates.

For those sick to death of found footage films, this offers
little to win you over. There’s more cameras and camera technology so a
slightly more varied visual experience than many other similar films. And the
old charge of ‘why would they still be filming in this situation?’ is at least
partially answered by having the characters wear their cameras on their head
requiring them to not have to think about filming when the shit really hits the
fan in the final act. These cameras also provide Peep Show style interactions
as the characters talk to each other but gaze directly into the cameras. This
pays dividends when two characters can only see each other's torch-lit faces
while the space behind them remains in total, terrifying darkness.

So Blair Witch is scary, but it's not as ingenious and won't
be as influential as the original. It's mostly a shame that Wingard didn't use
the ‘method directing’ tactics of original directors Eduardo Sanchez and Daniel
Myrick. Clearly some of the scenes were unpleasant to film, but the actors in
this film got off lucky. Though there is less ambiguity in Blair Witch, there’s
a higher body count and more hysteria to make up for it. It's just a shame that
there isn't anything as iconic, moving and ‘real’ as Heather’s final apology in
the project that started it all. Still, Blair Witch fans won't be disappointed
and newbies will learn that the woods of Burkitsville can be scarier than
Crystal Lake, Elm Street and Haddonfield put together. Go
back to bed Paranormal Activity, the Blair Witch is back with a vengeance and
as terrifying as ever.

Wednesday, 7 September 2016

Wow... some films take a while to make it from the festival circuit to cinemas. Some films take a while... Some films take over two years. I give you The Blue Room. I saw this at Cannes in 2014 and it seems to be getting a limited release in the UK in September 2016. Probably not a great sign, but hey at least it's getting a release!

Here's a snippet of my review:

Triple threat actor, writer, director Mathieu Amalric explores
infidelity, obsession and a tragic desire that turns from lust into
violence in his latest film, The Blue Room. While the star gives a
worthy performance, the story is slight and adds little to what could possiblly be called a sub-genre of '
secret-affair-turns-nasty' films.

Starting in a hotel room where lovers
Julien and Esther are having a lusty, erotic and passionate affair
behind the backs of their respective partners, The Blue Room then skips
in its chronology between the romance and its later repercussions. These repercussions include
Amalric’s Julien questioned in custody and standing trial for a crime
that remains a mystery for much of the running time. Julien has a wife
and daughter at home while Esther has a sick husband in her own life but
both are more interested in their frequent forays into the blue room
for lovemaking so intense, it even involves biting that draws blood... kinky!